The paper investigates the urban text in the framework of the theory of «supertext» in the works of rock-poet V. R. Tsoy. The analysis is made with due regard for the specificity of intermedial art, as in rock-poetry verbal and musical media interact. The image of the city is also considered in the framework of artistic evolution from primitive style to mythopoetic structure. The paper outlines the periods of V. R. Tsoy’s creative work: early and mature. At the transitional stage the poet uses the artistic possibilities of the gender semantic shift in the implementation of the urban text. Revealed in the light of the investigated material are also some peculiarities of Viktor Tsoy’s author identity. In his works the poet combines neoromantic and realistic elements, thereby demonstrating the entire variability of the modern understanding of urban categories.